Part 13-3: In 1978, Yuichi Shibiki captured the 'perceptual shift' of the Tokyo scene influenced by overseas punk

Kan Takagi 'Between Rock and Roll...'
Text : Kan Takagi / Illustration : UJT

A popular series from the literary culture magazine IN THE CITY, published by BEAMS, makes a comeback. A long essay examining 'rock and roll as an imported culture' from the streets.

It is almost certain that something original and new began in Japan in 1978, in the aftermath of punk rock.

Or so I think. Incidentally, YMO also began recording in the summer of that year.

Let's take the story back one year.

Last time, I wrote that in 1977, when punk rock was imported, 'Shibiki-san was still searching.'

I, myself, was the same.

I recall.

What arrived from London was led by its visuals, even without understanding Malcolm McLaren's statements. The influence of the Situationists—which many translated as 'situationists'—the meaningful naming of the Sex Pistols, and costumes cross-bred with bizarre SM elements, EPs, and posters were all featured together in magazines like 'anan,' 'Hanatsubaki,' and 'Soen.' Thanks to Kensho Onuki's introductions, the Pistols could be seen and heard on radio and television.

On the other hand, regarding New York, which also influenced London, the New York Dolls, who were seniors in the scene, visited Japan in 1975, so the term 'punk rock' itself had been covered early on in 'Music Life' magazine. Later, Haruko Mizukami actively introduced new movements from NY in the same magazine, and Tadashi Tanaka, who would later become S-KEN, also introduced the NY scene as a dispatched reporter for other magazines around the same time. Perhaps because of that flow, Japanese editions of Patti Smith, the Ramones, and Television were all released quickly. When NY was ahead, unlike London, the sound and style were different for each, so the word 'punk' didn't feel like a genre, but rather a secret code that drew a line against the mainstream rock business.

In the midst of all this, Reck and Hige from 3/3 headed to NY.

The beginning of a perceptual shift.

While Reck & Hige were meeting James Chance, Lydia Lunch, and Arto Lindsay in NY, in Tokyo, Plastics, who had started by covering Roxy Music and David Bowie and were doing copies of London punk, were twisting and shouting with the theme of 'COPY' while being influenced. However, at the end of '77, following instructions from the band's Hajime Tachibana, who had been shocked by seeing DEVO in LA, they incorporated a rhythm box into the band while keeping the lyrical world as it was, resulting in a Tokyo-original kitsch.

Musician Haruo Chikada, who was watching that transformation up close, cut his long hair and, taking a hint from photographer Toru Kogure—a kayokyoku fanatic who was the first in Japan to photograph the Pistols—invented the idea of turning kayokyoku into punk. This was before Sid Vicious recorded 'My Way'.

Around the same time, Beni Tokage, who had cut their hair and started shifting to straight punk, added a keyboard player to the band, incorporating a new style into the angry rock and roll created by Momoyo.

Around Koenji, several long-haired band members also cut their hair, and bands like The Mirrors and Mr. Kite were born.

In 1978, the Sex Pistols disbanded. When punk as a trend was considered over, the swell finally became a wave in Japan.

The first punk boutique, SMASH, opened in Harajuku, and bands like 8 1/2 and Bolsey began to gather.

Reck & Hige, who had stayed in NY for a year, also returned to Japan and formed a new band.

April 1978.

One month before the S-KEN Studio began. At a live show organized by 'Rockin' Doll' at the Kita Ward Public Hall, Shibiki saw Friction, the new band of Reck and Hige.

'Seeing Friction at the Kita Ward Public Hall was a shock. Just by them appearing, the atmosphere changed. However, at first, I couldn't understand it as music. I watched them two or three times in a row, and finally, I understood. It didn't have that Japanese sentimentality that existed until then, but it was by no means inorganic. Conversely, I felt that they were putting out the unknown energy that humans possess in the most straightforward way.'

The Friction I saw at S-KEN Studio on May 28th, the following month, was, like for Shibiki, a band sound that I couldn't describe even if someone who hadn't seen them that day asked me, 'What kind of band are they?'

The bassist muttered into the microphone to us, the audience who were sitting cross-legged on the floor waiting in the studio, 'It's about time you guys can stand up.' Everyone stands up. The sound rings out. The sound flies. The drummer's gaze looking at me is impressive. I can't take my eyes off him.

Time passed, and on June 5, 2023, a live concert by the group THE MILLION IMAGE ORCHESTRA, organized and directed by Yasuharu Ide, was held in Shimokitazawa. Among the 25 musicians, DJs, and dancers participating, I had a session with Friction's bassist, Reck, for the first time in a while.

The joy of riding the rhythm created by Reck, who continues to unleash crazy dreams without change even now. When we make sound together, Reck creates waves. If you can make it work well, it's OK. Expressing your voice and making sound while riding a timeless, ageless beat is the same as a surfer enjoying riding the best wave.

And that is the same for the person taking the photos.

Initially, Shibiki says he didn't know how to take the photos.

'There were many photographers around the Tokyo Rockers, and in that situation, I didn't know how to take good pictures at first. I thought I finally managed to take a good one at a live show in Shimokitazawa at the end of 1978.'

The energy of that time is conveyed through the photos.

'Along with the desire to create a punk scene in Tokyo, I wanted to capture the situation where some kind of new energy was swirling.'

Thanks to Shibiki leaving them behind in photos, the phenomenon that was born in a part of TOKYO still leaves an image that has not faded even now.

And I realized once again that it is certain that the energy released by the aftermath of punk rock had something that moved not only musicians but also those who were searching for new forms of expression.

(To be continued)